GrizzlyAK: The Cloud is a joke. Anyone who would put their personal or corporate data, or creative work, willingly into the hands of a vendor that you have to pay rent to to use their products (or any company, for that matter), isn't serious about data security, or is just uninformed. I recently bought CS6 Master anticipating that it will be the last Adobe product I buy, ever, i.e., if the 'cloud' is the future for Adobe products. This is not a business model we end users want for the future of SW. That wouldn't be an option to users of CC. All you photographers and creatives ask yourself this: What happens 5 years from now when you've stopped paying rent and someone wants to pay you a premium for that fantastic PS file you created from that perfect image. Um... Go ahead, commit to a 12 month lease so you can access the file. Yeah, didn't think so.
The flash and acrobat plugins have been on the unending patch cycle since before Chrome was written and are still constant security problems. Did Adobe hire ex Outlook programmers?
kurtizone: There are several security approaches that Adobe and every other cloud service should be using instead of those that expose a password on the wire. Just Google federated SSO or SAML or OpenID Connect. They package up a credit card number as a claim inside a digitally signed and encrypted token. The cloud service decrypts and unpacks the token, processes the credit card transaction and then deletes the credit card number from memory. The cloud provider doesn't need to store credit card info, where Chinese and eastern bloc criminals can get hold of them. How do you know if an online service, if it stores your card number, is encrypting or hashing your data? You don't and the cloud provider apparently doesn't care. The world is moving to a cloud model for software-as-a-service. Yet SAML and other claims-based technologies aren't being widely adopted in spite of stupidities like those of Adobe.
Adobe has been building the security flaws right in by design with the flash and acrobat reader web browser plugins to the point they surpassed Microsoft's IE and Outlook as infection vectors. With that kind of longstanding wreckless disregard for security in products intended for our use on a hostile network, they deserve no benefit of the doubt. It's apparently a corporate culture.
These shots look like bridal portrait sessions before the wedding, although the blog talks about using the lens at the wedding.I find blur in front of or below the subject usually detracts from a conventional portrait. It feels like somethings in the way when the print is viewed.
For dreamy, other-worldly styles I can see a T/S shining. Really high key shots where everything but the bride is blown out should work well. The kind of artistic intent that a lensbaby works with should suit a T/S too.
The B&W shot on the beach with the bride striding out of frame seems to work, while the one below it with the bride squatting really isn't to my taste at all.
I like the way her fingers echo the lines across the small of her back.Who made the hose/body suit?
mrxak: Every picture in this article is following some compositional rule or another that I am aware of. Composition is more than just putting certain elements in certain fixed places on the frame. The subject(s) still need to be interesting, or there has to be interesting tension, etc. Some things are more objective than others.
I think a better thesis would be that there are many, many rules, some of them contradictory, and it's good to know all of them so you have some idea which ones to use in which situation, and which ones to acknowledge and then ignore.
Maybe rules isn't the right word for it, anyway. It's more like, this has worked for artists in the past. They give you a framework for understanding good images, in the hopes that we can find success as well. I think your best point in the whole article is the one about doing specific projects. I am routinely inspired to experiment with different compositional concepts as a basis for a specific project.
It's best to understand all of the rules. Breaking the rules without a plan usually leads to a weaker image. Understanding what the rule seeks to avoid, then breaking the rule in specialized cases to deliberately cause the effect often strengthens an image. Breaking one rule solidly while following the others that apply is nearly always a stronger composition than breaking several rules at once. A few readers have noticed that the images in this article do follow several rules while breaking one. Each rule you break past the first multiplies the difficulty in creating a successful image. Break each rule because the rule breaking will change the viewer's perception of the image in a desired way.
Legio: To not have a good AF (doesn't have to be the best) on their FF offerings are putting a bad stamp on the Canon brand, we all know they can do better then they do.
Since the sensor on the Mark III doesn't differ much from Mark II (as I see it as a raw shooter) I have no hope that the IQ will be much better on the 6D even if it "only" have 20 MP.
Great with GPS but plastic chassi is a to big of a trade off, wouldn't it be possible to have the antenna outside of the metal body and still have a full metal cast?
The article said it nicely thou, Canon tried to remove as much as possible and still get away with it, I hope Canon will do the opposite one day and hopefully get a reward of selling a lot more cameras.
Nikon deserves to sell more cameras right now (If 5DM3 was a little bit cheaper that wouldn't be true). I really hope we dont have to wait 4 more years for a 5D that has same excellent body and AF as the Mark III but with a sensor that is not same as Mark II.
I like the wifi for remote control and for sharing at a social event (wifi sJPG to a tablet live at the event).
I like the DOF preview button location. It's the same location as my Mark II, and simple extending a finger on the grip triggers it. It's a very intuitive location.
I don't understand the rest of this camera.As a slow, not very weather sealed FF camera it has a place as a low DOF studio camera. Oh wait, it lacks focus points on the 3rds so you can't select an AF point on the subject's eyes. Outdoor portraits will require more flash power with the reduced flash sync speed too.Well then, what about product photography. Oh oh, where did the PC Sync jack go? Not intended for studio use, eh? Does it have the 2nd curtain sync restriction the 5DII had also? (the feature is disabled unless a 580 strobe is detected.)Wow this camera seems to be (non Canon battery) strobe hostile!
Tape5: Canon's act reminds me of a joke. A boxer inside a ring suddenly starts yelling at his opponent '' stop!, right now!, stop it!, I have to ask you something.'' His opponent stops '' what? what is it?'' he asks. '' why are you trying to hurt me?'' says the guy.'' Why go higher with megapixels I ask you?'', Canon says. They must be thinking ''We got lucky with all this high ISO and Video craze.'' Canon have hit a technological wall. They would have loved to pull a 36.5 one on Nikon. They just cannot right now. It is sad because I heard many of their top guys saying ''40 mp? no problems at Canon.'' I knew that was a bad sign. And Ah..Canon, thanks for worrying about my processing times and storage with larger files that Nikon delivers. I just bought myself another six terabytes with one tenth the cost of your camera.
I remember the 100mp APS-H sensor. The thing is, I don't have a raw file to verify that the resulting images were worth a damn. That sensor was a pixel density tech demo and we don't know what performance issues it had.
Production sensors need many other capabilities to take good pictures. Reliable, reasonably priced production has to be possible too.
With the recent releases, we know Canon has improved read out speed and light gathering of production sensors. We don't know that they have a higher MP sensor ready for production, free from issues we wouldn't like. I'm sure they have test sensors pushing the boundaries of all areas of sensor design, but getting those ready for production is a much higher hurdle to cross.
The optical flaws of large aperture lenses are more pronounced at the edges of the lens. If this camera uses micro lenses does the software sample light more from the center of the lens as DOF is increased in post? Does that result in a reduction of Coma, chromatic aberration and increased sharpness? i.e. Does the image improve optically in a similar way to stopping down the lens when increasing the DOF?
love_them_all: This kind of effect can be easily "copied" by a software. Take a picture with the max DOF, then in post the software can burr out zones of the picture...
Cy, if you have a lens with an aperture so large the DOF is too small for the scene you could shoot it wide open anyway to gather enough light that you can then increase the shutter speed. Now motion blur is reduced, but your DOF is too shallow. With this technique, you could increase your DOF in post.High ISO doesn't blur shots, it adds noise. Noise reduction often does at blur though. There is the potential that this technique could smooth noise in a way similar to picture stack averaging, which could slightly sharpen the image while it reduces noise - as in astro photography.Actual 1st gen products may not be capable of either improvement even if technically possible.
At $1400 or more they've saddled the camera with proprietary Sony memory sticks? At this price point Sony also requiring highly marked up memory is unacceptable.
I agree the baseline lens separation is too narrow for telephoto 3D. I'm curious as to why Sony didn't at least use the full width of the existing housing. Perhaps going wider would have required toeing in the lenses at closer focus distances. Does anyone know if the camera adjusts toe to prevent double images in 3D?
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